ABSTRACT
Analysis can only take place effectively if the outcome of the equal loudness contours described in the work of Fletcher and Munson are understood. Comprehending that there is an optimum listening level of around 83dB SPL leads to the use of a visual meter for measuring loudness reading the RMS. This means the calibration of the mastering room monitoring system and use of equal loudness for all audio comparison is the norm. Our ears are our best friends and our worst enemy. In starting to truly observe loudness differences, it becomes clear that louder sounds are fuller, more intense and brighter; in contrast, quieter sounds are duller, less powerful and lacklustre. Observing loudness enables hearing tonal change in the dynamic of the waveform. Hearing dynamics is key to developing critical listening as much as listening to audio references are to comprehending what quality actually sounds like. All considered, music making references previous creative outcomes, and this osmosis of musical form is an audio engineer’s library of sonic reference. Audio referencing and the use of practical analysis is crucial to develop an engineer’s ability to master. The outcomes learnt from correct observation of loudness in listening level, adhering to equal loudness in all comparisons, are the knowledge that enables analysis.
